Tell me what’s awesome about your new Kobold Press adventure anthology Journeys to the West.

It’s sea-faring adventure. What’s not awesome about high-seas escapades and exploration? Plus, we’ve thrown in enough new monsters and islands to keep a campaign going for quite some time. Although these are set in Midgard’s Western Ocean, a GM could really place them in any campaign with no trouble at all.

How did you get involved with the project?

I was a senior patron on the Midgard Campaign Setting, and I sent in a pitch for Wolfgang’s Open Design project-pitch call. The other project patrons selected it as the winner, and a journey across the Western Ocean began. By the by, this project happens to be the first one Wolfgang Baur offered up through Kickstarter. It definitely grew in scope because of that venue.

What does Journeys to the West bring to the Midgard Campaign Setting?

First, it greatly expands on material in the setting book. For instance, the city of Barsella and the Isle of Morphoi were originally toys Brandon Hodge created for the Wasted West section of the book. If you are interested in seeing what Barsella actually looks like, who you might encounter there, and what types of adventures can be had in the city, then this book is for you. It does the same for the Isle of Morphoi.

Second, it brings loads of adventuring opportunity! GMs running a sea-based campaign can just plug in these islands and spin off the ideas and hooks offered therein. And, of course, we provide the GM several ready-made scenarios to use. They aren’t tied together, but they easily can be—and I do have a story arc to offer up soon that can provide that connection.

Additionally, many gamers indicated they would be using it to round out their Paizo Skulls & Shackles Adventure Path.

What were some of the design challenges you encountered (if any), and how did you overcome them?

I didn’t so much have design challenges as other challenges. I’ve run a few projects before (SpirosBlaak, Odyssey Prime, Rogue Mage), but never anything like an Open Design one. The challenge for me was trying to keep up with all the patrons’ conversation and brainstorm threads on the forums. We had an exuberant group with good ideas, many questions, and lots of pitches. But then again, keeping up with it all may just be a problem inherent to me: I sometimes think I have a touch of ADD; I know I definitely have a big case of INTROVERSION.

Anyway, that was the hardest part of the project for me. I truly don’t see how the other project winners have managed it all—write things, polish others’ work, and respond to all the questions and notes at the same time. Tackling an Open Design project, especially one this large, is a definite juggling act. Ben McFarland (Kobold Press’ developer and my co-leader on the current Midgard Tales project) and Wolfgang really were great about coming to my aid in this regard, and they are master jugglers extraordinaire. I bow to them.

Do you have a favorite moment from working on this book with the Open Design community, or a particular designer?

Lol! Can I say that holding the hardback book in my hands was the greatest moment? Seeing something actually come to fruition is the high point for me. When I’m deep in the process, I’m enjoying it, certainly, but nothing beats seeing the final result.

Also, working with the Open Design community was a lot of fun. What’s great about the patron process is all the contributions patrons make to the book. Had I truly created this book alone, Barsella, Morphoi, and other pieces of the book would not have been what they turned out to be. There are just so many little gems throughout the design that our wonderful community contributed. Open Design projects are genuinely beautiful products of collaborative creation, and that’s what I’ve enjoyed about them over the years I’ve been involved in them.

They also serve as great venues to new freelancers. I truly enjoyed working with the new talent who pitched on the project. I’ve made some good friends among them, and some, like Andrew Christian, I’ve since gone on to work on other projects with.

Have you ever been adventuring at sea yourself?

No, not me, unfortunately. I’ve been a landlubber lo these many years. I am intrigued by the idea of a gaming cruise, however. That’s something that could get me out on the ocean. My buddies in NC who put together the MACE convention are pulling one together this coming year. Ah, if I was rich and had oodles of vacation time.

What’s next on the horizon for you?

Well, in terms of Kobold Press releases, there’s that teeny, tiny Midgard Tales project that has just gone into the editor’s hands. That editor would be me. Thirteen fascinating adventures set in Midgard and developed by Ben McFarland—Wolfgang and I are writing companion adventures to the tome, as well.

Then, I have a New Path piece with Andrew Christian (from the Journeys project) that should see the light of day in the new year; some writing in the Midgard Legends book; and whatever else the Kobold Overlord finds for me to do over the next few months.

Other projects of mine on the horizon include the completed Rogue Mage RPG Game Master’s Guide and entries in two books so far for Paizo’s Player Companion line: Animal Archive and Champions of Purity. I’ll be doing some work with SpirosBlaak in 2013 with Misfit Studios, as well.

You’ll note, I tend to keep busy.

Animals and Servant Beasts

Ant Lions, Giant: Eggs—500 gp; Mature Ant Lion—2,500 gp

Axe Beaks: Eggs—400 gp; Mature Axe Beak—2,000 gp; Saddle-Trained “War” Beak—5,500 gp

Baboons: Infant—45 gp; Mature Baboon—225 gp; Trained Guardian Baboon—600 gp

Camel: Infant—100 gp; Mature Camel—500 gp; Saddle-Trained “War” Camel—2,500 gp

Carbuncles: Carbuncle—450 gp; Mature Axe Beak—2,100 gp

Cave Giants: Warrior—5 gp or equivalent per day*; Slave-master—8 gp or equivalent per day; Giant Lizard Breeder—12 gp or equivalent per day

Clockwork Servants: Various—1,500 gp per CR on average

Crabs, Giant: Eggs—450 gp; Mature Crab—2,500 gp; Saddle-Trained “War” Crab—5,600 gp

Derhii: Slaves—2,250 gp; Mercenaries—15 gp per day

Dragonnes: Infant—1,650 gp; Mature Dragonne—3,250 gp; Saddle-Trained “War” Dragonne—5,600 gp

Giant Geckos: Eggs—450 gp; Mature Gecko—1,650 gp; Saddle-Trained “War” Gecko—2,600 gp

Goblins, Goblin Snakes and Mites: Slaves—1–4gp each; hirelings—1sp per day.

Green Eagles (“Saqretair”): Eggs—350 gp; Mature Eagle—2,250 gp; Saddle-Trained “War” Eagle—3,600 gp

Guard/Hunting Lizards: Guard Lizard—35 gp; Riding Lizard—175 gp

Ogre and Humbaba Bodyguards: Warrior—5 gp or equivalent per day*; Bodyguard—8gp or equivalent per day; Slavemaster/Captain/Torturer—12 gp or equivalent per day

Oliphaunts: Infant—450 gp; Mature Oliphaunt—2,250 gp; Trained “War” Oliphaunt—5600 gp

Ostrich: Eggs—40 gp; Mature Ostrich—240 gp; Saddle-Trained “War” Ostrich—650 gp

Parrot: Various—From 15 gp for a purely ornamental bird, up to 2,000 gp or more for a trained spy or spellcasting parrot

Porcupines: Mature Porcupine—25 gp; Mature Giant Porcupine—400 gp; Mature Dire Porcupine—650 gp

Scorpions: Greensting—45 gp; Ghost—165 gp; Cave—360 gp; Giant—1,275 gp; Deadfall—5,625 gp

;

Dry Goods

Fire Wraps: 1,100 gp for mundane cloaks that provide a +1 circumstance bonus to saves vs. elemental damage, to 3,300 for magical cloaks that provide a +3 arcane bonus to saves vs. elemental damage

Heat Stones: 2–4 gp

Horn Bells: From 10 gp for silver ornamental bells, to 1,650 for mithral “war” bells (+1 to DC to resist dragon’s Frightful Presence)

Ivory Necklaces: 15 gp for a simple scrimshaw ornament, up to 36,000 gp for a Morza’s ceremonial necklace, inlaid with precious alloys and gemstones.

Platinum Coin Armor: Treat as masterwork +4,000 gp. Increase AC bonus by one step, decrease AC penalty by one step, in addition to normal masterwork bonuses

Razor Rope: 550 gp per age/size category of dragon

Wing Cuffs: 450 gp per age/size category of dragon

;

Food and Drink

Arbonesse Claret: 1,250 gp up to 3,600 gp for prize vintages

Aboleth Brain: 950 gp for salted and preserved stock to 3,600 gp for still-pulsing, in the skull sweetmeats

Basilisk Heart: 2,250 gp

;

Minor Magic Items and Curiosities

Dragonclaw-Blades: Various by type—price as masterwork or +1 blades, as per the PFCR

Dragonheart Extract: 25,000–50,000 gp per dose

Wind Jars: Various by type—anywhere from 10s p for a simple glass jar of spring air, to 25,000 gp for an adamantine vase containing thundercloud ozone from the Cloudwall Mountains

;

Draconic Gear

Black Miasma: 10,000–15,000 gp per dose

Bulwark Armor: Use the “Armor for Unusual Creatures” (non-humanoid) chart in the PFCR to adjust cost and weight

Dragon Seals: Since these are symbols of state, they are not normally for sale. If the PCs wanted to pay for the creation of a new one, or attempt to buy or sell one on the black market (most would be fakes), they would go for anywhere from 150,000 gp to 600,000 or even more. Even crude copies would go for 10,000 gp or more.

Claw Razors: Price as per the PFCR—treat as adamantine or mithral great sword

Fang Razors: Price as per the PFCR—treat as adamantine or mithral great axe

Levitation Bands: 1,000 gp per age/size category of the dragon

Orb of Remembrance: 20,000 gp (either color)

Purple Miasma: 10,000–15,000 gp per dose

Tail Razor: Price as per the PFCR—treat as adamantine or mithral falchion

;

*May be paid in weapons, armor, slaves, or food, rather than gold.

Let the Journeys begin!

Journeys to the West, the new 8-island, 5-adventure anthology of seafaring excitement for Pathfinder Roleplaying Game is out from Kobold Press! Set sail from Barsella, the City at the Edge of the world, home of adventurers and pirates, and explore the vast, uncharted waters of the Western Ocean of the Midgard Campaign Setting –or any ocean you choose to sail!

Purchase Journeys to the West as a standalone book, or take advantage of the limited-time Seafaring Bundle and get Journeys in print and PDF, Pirates of the Western Ocean PDF, To the Edge of the World adventure PDF, and the Sunken Empires sourcebook PDF.

What lies beyond the western shores of Midgard, past the boundaries of civilization and into uncharted waters? If you believe the old sea legends, brave explorers will find mysterious islands full of beauty and horror, and rich treasure guarded by unknown gods.

Some say that out there among the waves, a sea-king lies in chains; and a goddess of memory and time weaves dark intrigues that reach everywhere—even deep into the lands we know.

Journeys to the West takes your players on epic voyages of discovery. Within its saltwater-crinkled pages you’ll find:

• 8 lost islands to explore
• 5 new adventures from level 1 to 10
• 10 new monsters including the coral ooze, dragon eel, and son of Talos

Explore new islands where terrifying new monsters are worshiped as sacrifice-loving gods, and where ancient treasures rest. Send adventurers into haunted, treasure-laden ruins to test the mettle and sanity of fortune-seekers. Lead designer Christina Stiles has designed this anthology for maximum use in any nautical or edge-of-civilization Pathfinder RPG campaign.

Get Journeys to the West at the Kobold Store, and sail beyond the horizon and into undiscovered realms today!

Click on the images below to see some sample pages from the book!

With all the unique traits, feats, spells, archetypes, prestige classes, and items both “mundane” and magic found in these pages, it is easy to start a great campaign with draconic themes that can begin as low as 1st level, but that can also move into epic story arcs that run up to 20th level and beyond. This supplement allows characters to interact with, serve, fight, confound, and even marry lesser and greater drakes, dragonkin, and dragons, as well as their manifold scaly and furry servants and guardian animals (did I mention the baboons?).

Using the historical and cultural touchstones provided in the text, the player characters can easily join in a battle of wits with jambuka smugglers and kobaldi guild masters at lower levels, which lead to parleys with sekban merchants and akinji chamberlains, and possibly battles with edjet warriors at higher levels. If the party survives long enough to reach double-digit levels, they may find much of their activity has been engineered and guided by timarli drake dukes and urmanli dragon barons of the Empire, centuries-old drakes and dragons that play the Great Game of conspiracy over long decades, with lesser creatures serving as their playing pieces. Each seeks to protect and secure their possession of great wealth and imperial power, and each one is looking to gain enough power to join the ranks of the morza, the great and legendary Great Dragons that rule the Empire.

But who truly rules the Empire? The morza have appointed a dragonblooded human to sit upon the Golden Throne of Harkesh as their sultana. She acts as a pivot, check, and counterpoint all at once for the selfish and narcissistic great dragon lords. The sultana oversees the agencies and ministries of the Empire, as well as raises and commands its armies—she holds the Empire together.

For the Mharoti Empire is a young and growing militaristic nation, and its many and various armies raised by the sultana serve it well. The PCs may laugh when they see their first brigade of ostrich-riding light imperial cavalry, but they will stop laughing and start reaching for their battle scrolls when they realize they are also being flanked by the cavalry’s Dragon Emir commander, roaring a magical command to encourage his troops and demoralize the enemy, all while riding a huge fire-breathing lava dragon . . . what’s not to like? Your epic destiny in the Dragon Empire awaits!

That was the Friday of Gen Con 2012—and I don’t mean the fact that the panels went well, or that a seat opened up at the Ars Magica game, although that contributed. I mean that I sat down to run “Grandmother’s Fire” from Tales of the Old Margreve and had it rocking on all cylinders, exactly as it was supposed to be. To be fair, I have to warn you that spoilers follow.

Still here? Then let me continue.

Things boded poorly at first. I had only two players until about six minutes into the slot, and I seemed to be missing one of my pregenerated characters. But, by fifteen minutes after one o’clock, I had a great table of two regular Pathfinder Society players, two newbies, and a friendly older grognard who willingly took up my last pregen—the female elf bard—and managed her with panache.

What followed next was three hours and forty-five minutes of sweet, sweet roleplaying, ass-kicking, improvisational tactics, and some of the hottest dice I’ve seen in a while. They blasted away at ghouls and lich hounds, then agreed to hear the peasants’ plea and visit Baba Yaga. After skillfully interacting with the Fell Crone, they left the Dancing Hut and tracked the thief into Heart of the Forest, where they discovered he’d apparently become the prisoner of werewolves.

While trying to scout out the lycanthropes’ camp, the rogue inadvertently drew them from the clearing with a horribly failed Stealth roll. But quick reflexes and good rolls got Ozla into a tree and out of sight before they could find her. Now close enough for the rest of the party to identify, the characters attacked the werewolves with the declaration, “Time to be heroes.” The irony was delicious, but the cherry on top was Ozla’s pure, brazen courage. Her player looked at me as the other characters quickly debated their charge from hiding and said, “Can I attack from the tree?”

Dive from a tree into a group of four werewolves alone? Go for it! She rolled a 20 for the attack and a 20 to confirm it, doing massive damage in a surprise round ambush that left the would-be hunter dead on the forest floor. She then won the overall initiative, took a 5-foot step and began eviscerating the rest of the pack with a solid hit and another critical, nearly hitting the massive damage point again. By the time the rest of the party crossed the 50 feet to join her, she’d nearly halved their numbers. From this point, I joked, she was Ozla the Terrific, because “she’s terrifying.”

They dispatched the rest of the wolfish hunters and freed the thief of Baba Yaga’s cinders to hear his story. They let the dwarf reavers loose to return home, and bound the thief to lead them to the vodyanoi’s hidden pool. The reveal at the tree bridge was perfect, and the group seemed genuinely sorry as they prepared to face the river fae in his secret pool.

The battle was, to quote them, “epic,” and this gamemaster’s heart grew two sizes that day. They squared off against the cinder-spawned elementals and called out the vodyanoi. They taunted and bantered with the fae, remained steadfast when the first of their attacks failed to hurt it, and then shifted their tactics to wreck him with but minutes left in the slot.

My voice, which began somewhere between terminal smoker and archetypical diner waitress (“wouldja like a cuppa cawfee, sweetie?”) seemed rejuvenated just long enough to let me roll out fantastic sequences of what they called, “great combat descriptions!” and we closed out the slot with the last bits of concluding interaction with Baba Yaga just minutes before the scheduled ending. Ozla’s player asked if she could take her character sheet with her as she rushed off to play Call of Cthulhu and I happily agreed.

I was ecstatic and hustled out to get ready for the ENnies, not even concerned about how the awards might turn out. As far as I was concerned, I’d just run the best adventure right there, and it was a blast! If you haven’t, I strongly recommend running this one at a convention—it’s a great opportunity to take chances and go for glory. After all, you’ll never play those characters again, right?

Marc is a professional graphic artist and designer by trade. In his copious amount of spare time, he also does freelance illustration, writing, and graphic design. (sleep is highly overrated!) He lives in Pennsylvania with his wife, teenaged son, and two very spoiled cats.

Marc started playing D&D as a kid in the late 70s—good old 1st Edition AD&D! He and his friends also played many other RPGs back then—Marvel Superheroes, Champions, Elfquest, FASA’s Star Trek, Star Frontiers, the list goes on—but it always came back to AD&D! Marc faded out of gaming sometime after 2nd Edition came out—partially because 2nd Edition just didn’t quite do it for him (he did play 2nd Edition a little though and certainly enjoyed some aspects of it) but also because his gaming friends all turned into grown-ups, got real lives, and moved away when Marc wasn’t looking!

The 3rd Edition of D&D really pulled Marc back into the hobby again, and he has since become a HUGE fan of the Pathfinder RPG.

Marc is fortunate enough to have worked with lots of great game companies, including Super Genius Games, Raging Swan Press, Last Unicorn Games (back in the day), Jon Brazer Enterprises, Tricky Owlbear Publishing, of course, Kobold Quarterly / OpenDesign.

He is extremely excited with his new role as Kobold art director—his graphics studio way in the back corner of the Kobold mines is almost set up (he just wishes the studio wasn’t quite so close to the bathroom!).

Recent Graphic Design Credits for Open Design /Kobold Press
- Your Whispering Homunculus
- The Midgard Bestiary (Pathfinder RPG)
- Monsters of Sin series
- Dark Roads & Golden Hells
- Journeys to the West

Art / Illustration Credits

Kobold Quarterly Magazine
- Various issues
Open Design
- Zobeck Gazetteer
- Tales of the Margreve

Frog God Games
- One Night Stands 5: Scorned

Raging Swan Press
- Mysterious Places
- Bleached Skull Gnolls
- Lizardfolk of the Dragon Fang
- Stock Art: Shields

Super Genius Games
- Mythic Menagerie: Engines of Destruction
- Genius Guide to Races of Wind and Wing
- Advanced Options: Cavaliers’ Orders
- Mythic Menagerie: Howl at the Moon
- Krazy Kragnar’s Magic Staff Emporium

4 Winds Fantasy
- Tome of Monsters
- Deus ex Historica

Purple Duck Games
- Legendary III: Legendary Items
- Legendary IV: Legendary Shields

Black Blade Publishing
- Lost OSRIC Bestiary cover

Interaction Point Games
- Kingdom of Legend holy symbols

Last Unicorn Games
- ARIA: Canticle of the Monomyth RPG
- HERESY: Kingdom Come

Writing / Game Design Credits:

Kobold Quarterly Magazine
- “Spell-less Ranger” (Pathfinder base class) – Kobold Quarterly #11
- “Beast Leaders” (Pathfinder) – Kobold Quarterly #18
- “White Necromancer” (Pathfinder base class) – Kobold Quarterly #19
- “Shaman” (Pathfinder base class) – Kobold Quarterly #21

Open Design / Kobold Press
- New Paths – The Expanded Spell-less Ranger
- New Paths – The Expanded Shaman

Super Genius Games
- Genius Guide to the Vanguard
- Genius Guide to Exalted Domains (3 volume series)
- Advanced Options: Cavaliers’ Orders
- Advanced Options: More Cavalier Orders
- Krazy Kragnar’s Magic Staff Emporium

Raging Swan Press
- Lizardfolk of the Dragon Fang
- So What’s It Called, Anyway?

Tricky Owlbear Publishing
- Learning Curve: Apprentice Level Characters

Purple Duck Games
- Legendary IV: Legendary Shields
- Legendary VI: Legendary Armor

Adamant Entertainment
- 30 Character Motivations

Wayfinder
- “Of Steel and Spell: The Battle Scion” (Issue 5)
- “Magic of the Inner Sea: Arcanamirium Bond Masters” (Issue 3)

Five years ago, I was writing Living Greyhawk adventures as a volunteer for the RPGA. We were trying new ideas and having fun, but I wanted to do more. I joined Empire of the Ghouls as a senior patron and started learning with the community at Open Design. I playtested, I punched up stat blocks, and when I saw a chance to write an adventure, I asked Wolfgang, “Put me in, coach, I won’t disappoint you.”

That was Tales of Zobeck, and we busted it out for the Silver ENnie; I was ecstatic. I kept contributing, writing, doing what I could for as many different publishers as I could manage. When I was asked to lead a project at Open Design, I jumped at it. I posted the call for patrons and passed out flyers, and I know I held several patrons hostage at the Kobold booth at Gen Con, explaining how we were going to make a great book, but we needed them to make it happen.

And we did it. We busted past our funding at Gen Con, and I went home hoarse and grinning, just like I did this time. For that gift, I want to say, “Thank you.”

Thank you to every patron who believed in the core of this project. Who voted, who brainstormed, who contributed, who playtested to make this the outstanding book it is.

Thank you to Glen Zimmerman, who perfectly captured my imperfect descriptions. Thank you to Gill Pearce and Jonathan Roberts, who turned our rough maps into the perfect heist sketches and beautiful isometrics. Thank you to Chris Bodan, the dark sensei who made our writing-fu strong. Thank you to Crystal Frasier, the Fairy Godmother who managed my inexperienced storyboards so well and spun together the perfect layout and trade dress for Streets of Zobeck to wear to the ball. Thank you to a great crew of fellow contributors who took a theme and a raw vision, and showed it could have so many facets—from Matt Stinson’s desperate alchemist and gearforged dreams, to Richard Pett’s deliciously twisted employers and settings, to Mike Franke’s bloodthirsty killer and a man hoping to cheat an infernal bargain, to Christina Stile’s perfect heist and decadent love triangle—you all came together to create a rich and entertaining book. I wanted to create not only a great set of gritty, urban adventures, but a vibrant slice of Zobeck with wonderfully useful locations and characters that gamemasters would steal just to cameo in their own games. I think we succeeded far beyond my hopes and expectations.

As I said when I accepted the ENnie, this has all felt like a dream—one I’m deathly afraid I’ll wake up from at any moment. So before I do, let me say thank you to everyone who has picked up and run Streets, reviewed it, and voted for it. You’ve made this dream reality, and you’ve shown once again that the Open Design model can create award-winning work. Here’s hoping I can stay asleep for just a little bit longer—I feel like there’s a few more stories out there I’d like to tell . . .

Thank you,

—Ben

PS—Because I know I couldn’t have done this alone, I’ve gotten my fellow designers to chip in their thoughts on Streets of Zobeck and share what they thought about the project. Enjoy!

Mike Franke. Streets was a creative avalanche that began with an idea: “We want noir and the paladins better stay home.” I was immediately hooked by the possibility of creating a dark and gritty urban world. Once we began, the patron ideas just seemed to build on each other until we had something great. Underworld items and spells led to dark locations, scoundrel NPCs and finally morally ambiguous adventures. I was inspired by Ben’s restless spirit called the Dragged Woman, intrigued by the possibilities of the Old Stross Bathhouse, and could not wait to explore the Cartways Black Market. For me, the end result was more than just a bunch of related ideas and adventures; it was a dark and gritty world waiting to be explored.

Richard Pett. I’m honored and delighted that Streets won an ENnie and to have been part of the team that delivered this great collection. Once again, it’s proved to me that the thing I love most about Open Design is the thing I most fear about it—the pitches for adventures are all totally anonymous, reputations count for nothing. Only the quality of the adventure counts. To prove a point, whilst the twisted and devious Rust is here, Dorian’s Palace of Diverse Pleasures, my second submission, sank without trace.

Being part of the team is always an invaluable education, and right now I’m working on Sorrow, part of the upcoming Midgard Tales, done through the same process. The last round of pitches was tough; there is a lot of talent out there and some fantastic adventure ideas. I’d urge anyone thinking about learning how to work on adventure design to join us.

Christina Stiles. Streets of Zobeck was the first patron project I decided I just had to pitch for. There was just no way I was letting this one get past me. The gritty, dark adventures and the opportunity to define more aspects of Zobeck called to me, and ideas flowed. In “Flesh Fails” I happily incorporated the Palace of Painful Pleasures and a cult of Marena into Zobeck, and I explored the outcomes of Konrad von Eberfeld’s machinations started in Steam & Brass. And, of course, I created a hideous, garish painting to instigate a heist adventure in “The Fish and the Rose.” Of my NPC creations, Jayzel the bard has become an integral character in my Zobeck campaign. With Ben McFarland’s deft hand at the wheel, this project just knitted seamlessly together as if the Great Rava had weaved it all herself.

Matt Stinson. “My favorite memory from Streets of Zobeck was when I was about to turn in my NPC, Joony, and asked my friend Glen Zimmerman to draw up a sketch of him to turn in with my write-up. The next thing I know Glen is doing the art for the whole book. It was really great watching him show a new piece of the Zobeck’s underbelly every week.

To see how excited we are about these awards, just take a look at designer Ben McFarland, who is holding the award given for Streets of Zobeck.